Helen lives close to the power station and has spent years observing and reflecting on this potent and puzzling complex set within its natural surroundings of sea, rock and sky. Working directly in contact with the place itself she has created a series of photographic images that record and comment on the inherent restriction and control of the land surrounding nuclear installations. Her chosen medium of cyanotype or Prussian Blue chemistry, was used in Snowdonia after the Chernobyl disaster of 1986 to mitigate the effects of the radioactive fallout since it has the property of chemically neutralising dangerous radionuclides found in contaminated animal and plant materials.

Wylfa power station is protected from terrorist attack by high security fences which have become integral to nuclear technology and the use of cameras here is strictly prohibited. Her cyanotype images, made on location but without the camera, gently subvert this restriction and provide images that will have no useful purpose for potential terrorists. A second series of works explores directly the possibilities, or otherwise, of a cleansing process in the sea around the power station.

Helen Grove-White first pursued a career teaching the history of art and design (Chelsea College and Middlesex University) before taking a Fine Art Degree at Lancaster (1st class Hons). Specialising in sculpture as a student she quickly moved to the use of experimental photographic media, often in spacial installation, as she explored the interface between herself and the natural world. Her work in video, photographic media, sculpture and book form continues to revolve around the intersection of the land and the human. Her work is propelled by issues of archeology and climate change, the past and the future, whilst maintaining a strong abstract aesthetic.

She has exhibited widely within Wales, including the National Eisteddfod, in England, Scotland, Ireland and the USA.